Bronze Goat Sculpture Signed on the shaped base by the Italian Sculptor Bazzaro, Ernesto Bazzaro – Milano 1859-1937 – dating back to the early 20th century , standing on a rectangular marble base 2 cm high,beautiful dark patina, in good condition.

Ernesto Bazzaro (Milan1859 – 1937) was an Italian sculptor and engraver. Born in Milan in 1859, the younger brother of the painter Leonardo. In 1875 he enrolled at the Brera Academy of Fine Arts, attending the courses of Antonio Borghi and Giuseppe Grandi, dedicating himself to sculpture, followed the courses of ornamentation and met Leonardo Bistolfi and Gaetano Previati. He was one of the most important Lombard sculptors of the late nineteenth century, with a technique close to impressionism. The artistic figures that will weigh on Bazzaro’s figurative language will mainly be those of the painter Tranquillo Cremona and the sculptor Giuseppe Grandi, influences that are visible in the Portrait of the mother and in the Reader of 1881. In 1881 he won the Luigi Canonica competition presenting the sculpture Sordello da Goito , a work of still romantic taste. During these years he came into contact with the Milanese Scapigliatura, a relationship that will be fundamental for his formation; follows the activities of the Artistic Family and the Permanent Society. His are the original marble statue of Garibaldi in Monza and the monument to Felice Cavallotti in Milan, in which Leonidas is represented, the hero of the battle of Thermopylae to whom Cavallotti himself had dedicated his work The march of Leonidas. The monument to Felice Cavallotti, built between 1901 and 1906, probably remains his most important work. From 1905 to 1908 he was a member of the Milan City Council. In 1913 he exhibited Bedouin and Smiling Self-portrait at the International Exposition in Rome. In 1917 he held his first solo exhibition at the Central Art Gallery in Milan, where among other works he presents the bronze Self-portrait serious. Due to the intense psychological rendering that characterizes them, the self-portraits are the most interesting section of Bazzaro’s production. Many other works of his have been created for funerary monuments in the Monumental Cemetery of Milan and in that of Pallanza. The story of his two female figures sculpted for the façade of Palazzo Castiglioni in Milan is curious: considered excessively procreative by the population, it was necessary to remove them and install them in another building. Bazzaro died in Milan in 1937. Among his pupils we remember Costante Coter and Paolo Troubetzkoy.